Lynch’s prequel to his cult television show Twin Peaks baffled most critics and audiences on its 1992 premiere, yet its fixation on small-town life, perversity, and crap interior decorating has only grown in stature; the Village Voice termed it “Lynch’s masterpiece.” Set in the week preceding the murder of Laura Palmer, the film opens with a similar murder case, before discarding it down a (literal) hole and starting again. (“We live inside a dream,” a character says, as if by explanation). “Its as if the time Lynch spent in the Twin Peaks cosmos allowed him to reduce this story to its essentials . . . pain and sorrow” (Dennis Lim).